Gianluca Cangemi (03/12/1979), an Italian composer. He was born in Palermo, Italy. After initial piano studies he went on to study composition under the guidance of the composer and pianist Eliodoro Sollima (1926-2000); he currently attends the Electronic Music courses held by Giuseppe Rapisarda at the Conservatory of Palermo, Italy.
From 1997 to today he has composed and produced instrumental solos, chamber music, electronic and electro-acoustic works, music for stage and dance, installations, verses, performances, articles and short essays on musical and less musical subjects, music for short films and videos.
His music has been performed, commissioned and recorded, in Europe and the USA, by several excellent, committed, and loving musicians.
He currently lives in Monreale - Palermo, Italy - and Rome, Italy.

It's not a religious Requiem, nor a liturgical one, and it's a requiem only if you accept a rather large meaning of this word.
The italian text, by Massimiliano Carollo, put on the stage of music-imagination a choir of children making a sorrowful invocation-complaint to the Invisible Man, i.e. a man annihilated and destroyed in his inner humanity.
Going on the second part of the composition, the children identify the culprits of the annihiling in all those men doing everything for profit and annihiling so themselves in what is the main difference between an human and any other animal: the capability and imagination of doing something and don't getting any profit for it (sex for the sake of pure inner relationship, any true work of art, etc...)
At this point the sorrow becomes rage and fury and the children begin shouting the interlocked words "shame" and "profit": unlike in the "Dies Irae" from the traditional sequentia the "Ira" and subquent birth of a reaction to the inner death of human being can have place on earth not by a God, instead maybe by us humans from what we are able to preserve and cultivate of the vitality and imagination of a child.
The subtitle is "capolavoro inutile" ("useless masterwork"), which mirrored a sort of pessimistic and pointless point of view I was caught in at the time I composed this unusual "requiem" (luckily enough since then I've been reaching a more vitalistic and hopeful point of view and mood :-)
Eventually I chose to score the text for soprano and female treble choir, maybe to suggest the strict link between the "cancellation" of both the woman and the child at the basis of dehumanization in our culture.
In fact, my Requiem is dedicated to the ones who are still living... as dead!